Holding Up The Ladder

I can’t think of a better way to end season 4 and the never before heard conversations from my archive, than my conversation between friends, Zadie Smith and Devonté Hynes. I’d been badgering Zadie for a while to let me interview her and when she agreed, the day before our conversation was scheduled, she emailed to ask if she could bring her friend Dev? I of course said yes, scrambled to find another microphone and when we had a last minute cancellation of the recording venue, we had to do it at my house. And the room with the best soundproofing, my bedroom!We talk about how we’re all storytellers; about music; about the power of live music; about the myth of the 10,000 hours; about Prince; about whether we should define ourselves as 'artists'; about authenticity and consciousness; about knowing and unknowing and about being students forever. I’ve produced almost 60 podcast episodes and this is one of my favourites. Because, for me, there is nothing more fulfilling than sitting around with creative people talking about music and making and process - it’s why this podcast exists. I hope you enjoy it as much as I do.Guests: Zadie Smith & Devonté HynesTitle: I would never call myself an artistMusic: Lil Nas X, Industry Baby; Arctic Monkeys, There'd Better Be a Mirrorball; Maggie Rogers, That's Where I Am; Knucks, Alpha HouseLinksDevonté Hynes IG and WebsiteZadie Smith WebsiteZadie interview on latest book, The Fraud - BBC Sounds, This Cultural LifeFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Welcome to part 2 of I've been thinking about...friendship. I talk about the importance of friendship and how pivotal it's been in my creative practice. Holding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Welcome back to part 2 of my conversation with Francis Fuster. We pick up our conversation in London in the 1980's. Francis is playing percussion for Hugh Masekela, he's touring with Paul Simon and that huge record, Graceland. We talk about playing in South Africa post apartheid and a short stint in jail - it was self-defense! Guest: Francis FusterTitle: You gotta be readyMusic: Bach, Handel, Miles Davis and John ColtraneMusic linksHugh Masekela, SekunjaloGeraldo Pino and the Heartbeats, Maria Lef for WakaHugh Masekela, Don't go lose it babyHugh Masekela, Bring Him Back Home (Nelson Mandela)Francis Fuster, NajesuehOther linksShango-Ja Martial Arts AcademyFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

You’re in for a treat today! And a little interruption from conversations from my archive. I recently did a gig at London’s Jazz Cafe playing keys and singing for a special concert in honour of South Africa Freedom Day and the late great South African trumpeter, Hugh Masekela. The person leading the band was his percussionist and friend of nearly 50 years, Francis Fuster.Born in Sierra Leone to a Liberian mother and Swiss father. Now 81 (but looks more like a man in his 60's!) a 7th Dan black belt in karate, upright and sharp as a tack. We talk about his journey from dancing, to drumming, to teaching, to percussion. About being a member of the band described as the Beatles of Africa, Gerald Pino and The Heartbeats.We talk about his close friendship with icon and disruptor musician Fela Kuti, also the reason he started learning karate. How he went from Sierra Leone to Liberia, to Ivory Coast, to Ghana, to Nigeria, ending up in New York and the wildness of that period. We talk about playing with Paul Simon and the huge record that was Graceland. And his close professional and personal relationship with Hugh Masekela.This was a joyous interview (what was meant to be an hour long conversation, was closer to 2!) So it's divided into 2 parts.Guest: Francis FusterTitle: You gotta be readyMusic: Bach, Handel, Miles Davis and John ColtraneMusic linksGeraldo Pino and the Heartbeats, Maria Lef for WakaHugh Masekela, Don't go lose it babyHugh Masekela, Bring Him Back Home (Nelson Mandela)Francis Fuster, NajesuehOther linksShango-Ja Martial Arts AcademyFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Today's episode of 'I've been thinking about' is a 2-parter and it's all about friendship and how it has impacted my practice. We talk about how much our families impact our lives, but not so much our friendships. Yet since we choose our friendships they are deeply significant - I explore why.Holding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Welcome back to the 2nd part of my conversation with Rich Harless. We caught up last month, and kick off our convo talking about how NFTs are no longer the hot topic, but the shift is to AI. And for context, the 2 artists Rich refers to are Sam Ryder who was runner up on the Eurovision song contest and Marc Rebillet who performs in the street.And if you haven't done so already, I recommend listening to Part 1 to get a full picture.Guest: Rich HarlessTitle: It’s like skywriting in a hurricaneMusic: Depeche Mode, David Bowie, Purple Disco MachineLinks:Rich Harless on LinkedinFeather agencyFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

In this week's episode we’re talking tech, marketing, AI and the music industry with entrepreneur, Rich Harless.Rich Harless is a Berlin-based, US-born entrepreneur and the founder of Feather, a company pioneering AI-powered brand measurement for digital advertisers. Prior to launching Feather, Rich held leadership roles at leading music and media companies such as AOL, Shazam, and Digitalstage.io, where he collaborated with some of the world’s largest streaming platforms, record labels, and a diverse range of independent artists. With over two decades of experience across digital advertising, emerging technology, and the creative industries, Rich has worked at the intersection of AI, blockchain, and augmented reality, helping brands and media platforms navigate technological shifts.We talk about old vs. new music; the disconnect between art and business; about streaming platforms. The role of social media for independent artists, as Rich says it’s good for discovery but not for monetisation.And because this is a never before heard conversation from my archive and the tech space changes so rapidly, Rich very kindly came back on the pod to chat with me about what he’s up to now and the latest changes in the tech space. For example, the first time we spoke it was centred around web 3 and NFTs and now the focus has shifted to AI. I decided to keep it in, because Rich explains things so clearly it helps provide a kind of technological arc, so to speak, to understand where things are at now. So this is a 2-parter. Tune in next week Wednesday to hear the follow-up conversation we had just last month.Guest: Rich HarlessTitle: It’s like skywriting in a hurricaneMusic: Depeche Mode, David Bowie, Purple Disco MachineLinks:Rich Harless on LinkedinFeather agencyTed Gioia - Is Old Music Killing New Music?Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

What makes an artist great, how does an artist become great? In today's episode of I've been thinking about, I explore the idea of maturity, ageing and process.It seems to me that maturity, ageing in the Arts is actually beneficial. Unlike other professions where ageing is synonymous with decline, with cognitive or physical impairment - people in sports have an early retirement age for that reason, Or former US president Biden wasn’t he forced to step down because of his cognitive decline due to his age? That doesn’t seem to apply to artists. When it comes to the Arts, age and maturity actually have the opposite effect - we can keep getting better. And there are many examples of this: Irish writer Edna O’Brien lived to 93. French writer Annie Ernaux now 84, won the Nobel prize for literature at the age of 82. Classical pianists only seem to get better with age, they have all the technique of years of practice without the need for showmanship that you sometimes see in younger pianists. I think about artists like Sonia Boyce who represented Britain at the Venice Biennale in her 60s or figurative painter Claudette Johnson also in her 60s. What about American abstract painter Stanley Whitney still making beautiful work at 79 or Indian artist, Arpita Singh. Now 87, I recently went to her solo exhibition at London’s Serpentine and her work took my breath away, her use of colour and composition, I felt like I was seeing an entirely new interpretation of artistic expression.I mean as long as you can pick up a paintbrush or pencil, or a camera, the work doesn’t and shouldn’t stop. And I’m not saying that we have to wait until we’re in our 80s to produce works that’s meaningful. I’m saying that our process produces the sound and the deeper the process the richer the sound. Music Refs:Ray LaMontagne, JoleneJoni Mitchell, Both Sides Now from 1969Joni Mitchell, Both Sides Now from 2000 Holding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

In the latest never before heard conversation from my archive, we're talking about America. You may be feeling over saturated with America at the moment as the loudest, brashest voice in the geopolitical room. I know I definitely feel like that these days, especially given everything that’s going on all over the world. But I want to promise you that you’re in for a refreshing, insightful, through-provoking treat with my guest today, Carri Twigg.Carri Twigg is the co-founder and head of development for Culture House media, a Black, Brown, women-owned, premium film and TV production company that specialises in storytelling about the cultural questions that shape society, politics, and identity. They’re responsible for series including Netflix Top Ten series, Ladies First: A story of Women in Hip Hop, The Hair Tales for Hulu and OWN and Growing Up for Disney+.Before her pivot to entertainment, Carri served in the Obama White House as Special Assistant to the President and Director of Public Engagement for then Vice President Biden. Carri spent over 10 years working at every level of American politics and government. And in 2022, was appointed by then President Biden to the President’s Advisory Committee on the Arts and the Kennedy Center board.We talk about growing up in Ohio with mixed heritage, the relationship between culture and politics. We talk about self-censorship, should we for example keep content in films that are racist is it harmful and if so why?I have to say this is the best exegesis of what I’d call ‘Americanness’ I’ve ever heard and really contextualises the kind of ‘soup’ that is US politics and culture. Carri now has a politics and culture podcast with Brad Jenkins called Twigg & Jenkins, a continuation of her engagement in US politics. She's also written a fantastic piece for Rolling Stone magazine about what she describes as ‘Trump’s cultural capture', very much reasserting much of our conversation.Guest: Carri TwiggTitle: Sometimes culture really pushes politics and sometimes politics pushes culture’Music: Amanda Jones, Rodney Chrome, Meshell Ndegeocello - The Hair TalesYussef Dayes & Tom Misch, What Kinda MusicLinksCulture House ; IG & SubstackCarri Twigg IGTwigg & Jenkins podcast websiteFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

In today's episode of I've been thinking about, I explore the idea of sacred spaces. Drawing from the famous Virginia Woolf lecture, 'A Room of One's Own'. She wrote, ‘a woman must have money and a room of her own if she is to write fiction’. Although Woolf was referring to the condition of women in the 1900s, their invisibility, the misrepresentation of women in fiction and their desire for freedom and self-determination. Nonetheless, it’s something that people refer to often as a space that belongs to the artist, a dedicated, private, personal, specific space.I talk about my space and I ask some of my artist friends to share their spaces. But why the word 'sacred?' Creation is a generative act. Where ideas are 'birthed' into the world - I unpack this idea further and its connection to sacredness.Holding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Who is art for? And how are we to engage with it? Should art be in museums or outside in parks, town squares or on the side of buildings? Is art the province of an elite few, the private collector, with a rarefied language that excludes? And why do artists make art, is it for ourselves, do we exist because there’s an audience, is it because of our ego? My guest today thinks so.eL Seed is a contemporary artist whose practice bridges painting and sculpture, developing a unique visual language inspired by the tradition of calligraphy and the energy of urban art. He uses art to explore ideas around identity, cultural heritage, creating connection and inspiring ideas of unity. About how he engages with the communities where his art is placed. Whether it be the Coptic community of Zaraeeb in Cairo or a rural community in Nepal. For eL Seed art is an amplifier, it’s about humanity and that really comes through in our discussion.I remember listening to an interview with British sculptor Anthony Gormley, perhaps best known for his life size and life-like cast iron figures of men, he said that art belongs in the world, that ‘art is about life and it needs to be in life.’ That it can change the way we behave, think and feel. That’s exactly how I would describe eL Seed’s work.Guest: eL SeedTitle: ‘Artists exist because there is an audience’Music: Eminem Stan, Booba, Fairuz, Umm KultumLinksWebsite - https://elseed-art.com/IG - https://www.instagram.com/elseed/Youtube - https://www.youtube.com/@elseedart Cairo project - https://youtu.be/g9M3HIjHuq0?si=0tfE03TxY5nxvJaE Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of IBTA I'm talking about the music that made me. About the seminal musical moments that shaped not just how I write music but who I am.Holding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

In today's episode of never before heard conversations from my archive, I speak with gallerist and co-founder of Addis Fine Art, Rakeb Sile.Addis Fine Art specialises in modern and contemporary art from the Horn of Africa and its diasporas. Along with co-founder Mesai Haileleul, Rakeb started the gallery to connect Ethiopian artists to the world and to spotlight underrepresented talent from the area.We talk about finding your way. About how there are so few African gallerists who are from the same place as the artists they represent. As Rakeb says, ‘we have to do the work to dismantle that’.One of things that struck me the most interviewing Rakeb is that our lives aren’t linear. It’s OK to pivot, to course correct, to start again. I’ve interviewed a number of people over the 4 seasons of this podcast and Rakeb is the first to say that she’s learnt more from her failures than her successes. Guest: Rakeb SileTitle: How much of Africa do people really want to know?Music: Mereba, The Jungle is the Only Way OutLinks: Addis Fine Art Website & IG ; Rakeb Sile IGArtists mentioned:Amel BashierEngdaye LemmaSelome MuletaMerikokeb BerhanuHolding up the Ladder links:Find out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

Today's IBTA is about making room for delight. Recognising that allowing space for pleasure and delight is an essential component to our practice.I also share a list of the things that bring me delight. From riding my bicycle, to dancing in the kitchen, to reading poetry out loud and my love of singer Michael Bolton!ReferencesToni Morrison, The Nation - No Place for Self-Pity, No Room for FearLinksWebsite: https://www.holdinguptheladder.com/IG: https://www.instagram.com/holdinguptheladder/Israel-Palestine project: https://www.crowdfunder.co.uk/p/holding-up-the-ladder-podcast-israel-palestine Hosted on Acast. See acast.com/privacy for more information.

In today's episode of never before heard conversations from my archive, I speak with portrait painter Christian Allison. Christian hails from Nigeria, a self-taught artist who left a career in engineering to pursue art full time.We talk about his commitment to learning, to his love of painting elderly people, how he manages to relay so much emotion through his subjects, especially the eyes. How he enjoys the solitary nature of his work, his harshest critic being his girlfriend. And we of course talk about music.One of the things that struck me the most about our conversation and why I love interviewing people from around the world, was how Christian talks about his practice. With none of the self-deprecation associated with British culture, Christian loves his work and states it as fact, without any guile or artifice.Guest: Christian AllisonTitle: There’s something unique about the eyes that has to come aliveMusic: Dunsin Oyekan and Nathaniel BasseyLinksChristian's WebsiteChristian's IGHolding up the Ladder linksFind out ways to support the Israel-Palestine project click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

In this week's IBTA I talk about dreaming, pondering...day-dreaming. Why taking time out to dream is a necessary part of our work.That art and Its utility isn’t measured by its function. Its utility simply is. It is because you are and you are the maker of it. LinksWebsite: https://www.holdinguptheladder.com/IG: https://www.instagram.com/holdinguptheladder/Israel-Palestine project: https://www.crowdfunder.co.uk/p/holding-up-the-ladder-podcast-israel-palestine Hosted on Acast. See acast.com/privacy for more information.

Welcome back! I’m so pleased to start this series of never before heard conversations from my archive with a dear friend of mine - photographer, artist and co-founder of menswear brand Adret, Adam Rogers.Along with his co-founder Seto Adiputra, Adret is discreetly tucked away between the high fashion luxury brands of London’s New Bond Street and the bespoke tailors of Saville Row. Their tagline - ‘Smartly Tailored for Smart Relaxing.’We talk about patience, about finding your way, about imposter syndrome, about being uncompromising. About independence and the musical Singing in the Rain. And how a young man from a family of musicians, with a love for BMX bikes, who studied art and design, ended up with his own menswear brand. And of course we talk about music.Guest: Adam RogersTitle: It was the constant idea of independenceMusic: Clifford St playlist Matthew Halsall, Johnny HartmannLinks: Adret on IGOther Links:Find out more about ways to support my special limited Israel-Palestine series click herePodcast WebsitePodcast IG Hosted on Acast. See acast.com/privacy for more information.

To kick of Season 4 we start with a new segment where I share things I've been thinking about pertaining to the creative process, it's called 'I’ve been thinking about' (IBTA)The first IBTA is a manifesto of sorts. A reflection on my time away, why I love the Arts so much, why the Arts are important and why we need to protect artists. It's called 'I've been thinking about...Us'Website: https://www.holdinguptheladder.com/IG: https://www.instagram.com/holdinguptheladder/ Hosted on Acast. See acast.com/privacy for more information.

Welcome back, it's been a long time! Season 4 is special as I'll be sharing never before heard conversations from my archive. We've also got a new segment called 'I've been thinking about' where I share my thoughts regarding creativity, basically things I've been thinking about! Those will air on Sundays.Our first episode goes live on Sunday 6th April and then Wednesday 9th April.I'll also be sharing details of an upcoming project I've been working on that I'm really passionate about - a limited HUTL series around the events that lead up to 7th October and the ensuing crisis in Gaza. To find out more and ways to support you can click hereWebsite: https://www.holdinguptheladder.com/IG: https://www.instagram.com/holdinguptheladder/ Israel-Palestine project: https://www.crowdfunder.co.uk/p/holding-up-the-ladder-podcast-israel-palestine Hosted on Acast. See acast.com/privacy for more information.

Holding up the Ladder Salon Series IThis episode is in collaboration with Black British Art, an arts platform that focuses on championing, educating, curating and advising on all that is Black British Art. Its founder Lisa Anderson-Diffang, a curator, consultant and Interim Managing Director of The Black Cultural Archives* chairs the discussion asking the question - ‘Are we having a Black British Art Renaissance?’. Our panellists were: Bolanle Tajudeen - founder of Black Blossoms – an expanded curatorial platform showcasing contemporary Black women and non-binary artists since 2015. In 2020 Bolanle launched the Black Blossoms School of Art and Culture, an online learning platform decolonizing art education. Bernice Mulenga is a London based multidisciplinary artist, who prioritises the use of analog processes in their work. Mulenga’s work also explores recurring themes surrounding their identity, sexuality, grief, family, and Congolese culture. And Dr Kimathi Donkor, Kimathi is a contemporary artist. His work re-imagines mythic, legendary and everyday encounters across Africa and its global Diasporas, principally in painting. Dr Donkor earned his PhD at Chelsea College of Arts and he is currently Course Leader for the BA (Hons) degree in Fine Art: Painting at Camberwell College of Arts. On the night we were served a bespoke menu consistent with the Black British Art theme prepared by The Future Plate, the chef was William Chilila.The episode was produced and recorded by AiAi studios*Lisa Anderson is now Managing Director of the Black Cultural ArchivesTitle: 'Are we having a Black British Art Renaissance?’LINKS:PanellistsBolanle Tajudeen: https://www.black-blossoms.online/; IG - @blackblossoms.onlineBernice Mulenga: https://www.bernicemulenga.com/; IG - @burneece Dr Kimathi Donkor: https://www.kimathidonkor.net/; IG - @kimathi.donkorChairLisa Anderson-Diffang: IG - @lisaandersonaaBlack British Art: IG - @blackbritishartBlack Cultural Archives: https://blackculturalarchives.org/FoodThe Future Plate - https://www.thefutureplate.com/ William Chilila: IG - @william_chililaSalon Series I Playlist - https://tinyurl.com/5mf5n6snFor images of the event head to the podcast website - https://www.holdinguptheladder.com/ Hosted on Acast. See acast.com/privacy for more information.